Vintage Waistcoats

A variety of vintage waistcoats from different eras, featuring intricate embroidery and craftsmanship. These garments showcase historical fashion with unique designs and materials.

Waistcoat, Medium: silk, metallic thread Technique: embroidered, plain and twill weave, Waistcoat of silver cloth brocaded in a small flower pattern with a two and half inch border, woven in one with the cloth. Metal is bound in twill weave. Border is an elaborate combination of chenille and three kinds of fine gold cord. Design is small red roses and green foliage in chenille intertwined with a meander of gold, and ornament in meander of raised loops. Flower heads of foil outlined in fine gold bullion stitches; outline of parts of the design, of front of waistcoat, and of pockets in fine threads of gold paillettes. Form of waistcoat is slightly fitted at waist, and at bottom, corners sweep back to point. Closes from neck to point; where coat sweeps back, in twelve foil-covered buttons. No collar. Pockets shaped into side and center points of same weave as border design, and with three buttons. Back, satin, laced; lined with satin throughout. Pockets of white leather., France, ca. 1780

Waistcoat. unknown, author

Vest 1854 American. Vest. American. 1854. silk, cotton, leather

Visiting dress 1890-93 probably American. Visiting dress 92339

Mans waistcoat unknown

Man's waistcoat, Medium: silk, metallic yarns and sequins, colored foils, paste jewels Technique: embroidered on silk plain weave with continuous metallic supplementary weft, Gentleman's waistcoat of silver metallic cloth ornately embroidered in a multicolored floral design., France, 1750-1775, costume & accessories, Man's waistcoat

Card -colored satin embroidered with multicolored sides embroidery, with slanted shot, upright collar and valves without bags, anonymous, c. 1815 - c. 1830 Card -colored satin cardigan with slanted lap and upright collar consisting of two parts (seam in the middle). Sewn valves without bags. Back and lining of beige rips side; Satin ribbon at the waist. Closure in the middle front by means of five knots of satin with embroidered and festonated buttonholes. Three knots without button holes under the neck. Satin siege to 19 cm under the neck on the inside and embroidered: the vest was therefore open to the chest. Multicolored (ocher, red, pink, violet and three shades of green) Silk embroidery (steel, enter and button stitch). Along the edge of flower bouquets and a serrated edge; Furthermore, a spreading motif of flowers. Netherlands (possibly) Fronts: Satin. back:. lining:. Siege: Satin. Filling: Silk embroidering Card -colored satin cardigan with slanted lap and upright collar consist

Waistcoat, Medium: silk, metallic thread Technique: embroidered, plain and twill weave, Waistcoat of silver cloth brocaded in a small flower pattern with a two and half inch border, woven in one with the cloth. Metal is bound in twill weave. Border is an elaborate combination of chenille and three kinds of fine gold cord. Design is small red roses and green foliage in chenille intertwined with a meander of gold, and ornament in meander of raised loops. Flower heads of foil outlined in fine gold bullion stitches; outline of parts of the design, of front of waistcoat, and of pockets in fine threads of gold paillettes. Form of waistcoat is slightly fitted at waist, and at bottom, corners sweep back to point. Closes from neck to point; where coat sweeps back, in twelve foil-covered buttons. No collar. Pockets shaped into side and center points of same weave as border design, and with three buttons. Back, satin, laced; lined with satin throughout. Pockets of white leather., France, ca. 1780

Waistcoat. Culture: French. Date: ca. 1830. Museum: Metropolitan Museum of Art, New York, USA.

Waistcoat. Dated: c. 1941. Dimensions: overall: 35.4 x 24.1 cm (13 15/16 x 9 1/2 in.). Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Clarence W. Dawson.

Suit. Culture: American. Date: 1780-90. Museum: Metropolitan Museum of Art, New York, USA.

Jacket. Culture: French. Designer: Dieulafait & E. Bouclier (French). Date: 1865-70.A good example of early ready-to-wear, this jacket incorporates fine workmanship in its detailed embroidery and unique back drapery. Museum: Metropolitan Museum of Art, New York, USA.

Vest 1795-1805 European. Vest 129601

Dress 1890s American. Dress 100183

Vest van I.J.A. Gogel, anonymous, c. 1789 - c. 1814 Card -colored satin with wide, upright sink, slanted front buildings without bags but with sewn pocket valves. Model: Closure in the middle front by means of seven knots covered with satin. Festunned pocket valves. Top button hole 19 cm below the neck. In the side seams a wedge -shaped key (5 1/2> 3 cm) of cream -colored rips side. Back of roughed cotton with lacing at the bottom of the back. Front buildings and sink lined with cream -colored rips side; Backpand is unlined. Decoration: Embroidery with silver thread and silver -colored (silver) Lovers. Symmetrical constructed, neo-classicist border motif with laurel wreaths, palm branches and flowers around a central surface with spreading motifs. Netherlands (possibly) vest: silk. silver thread. satin embroidering Card -colored satin with wide, upright sink, slanted front buildings without bags but with sewn pocket valves. Model: Closure in the middle front by means of seven knots cov

Man's Sleeved Waistcoat

Jacket 1868-72 probably French. Jacket 105457

Waistcoat, Medium: silk, cotton lining Technique: plain compound satin weave, Man's waistcoat with turned back lapels. Front is white figured satin in a pattern of leafy branches with floral sprigs. Back is plain white silk with white cotton lining., USA, ca. 1860, costume & accessories, Waistcoat

Frock Coat.Alongside colourful full dress costumes, plain wool fabrics in sober colours were also highly fashionable in the late 18th century. A piece of the pointed collar of this jacket was cut out at the back, and replaced with a glazed black fabric. When wearing this jacket the Amsterdam patrician Jacob Alewijn had his long, powdered hair in a ponytail. This is probably why his original collar became dirty.

Man's coat ca. 1820 Innu/ Naskapi, Native American This frock coat with a high collar and cape constitutes a hybrid of European style and indigenous imagery. Together, the female artist and the hunter who would wear this coat conceived the geometric, colorful design based on the mans dreams of the motifs that would give him power and ensure his success in the hunt. Coats such as this example were worn for only one caribou hunting season, as the Naskapis (Innus) believed they lost their protective power over time.. Man's coat. Innu/ Naskapi, Native American. ca. 1820. Tanned leather and pigment. Possibly made in Quebec, Canada; Possibly made in Labrador, Canada

Mans waistcoat unknown

Vest with side pockets and mother-of-pearl knots of cream silk, with sloping woven smooth and piqué stripes and large lapel with buttonhole of a double layer of cream linen, anonymous, c. 1790 - c. 1800 Vest of white striped piqué. With white linen transshipment and mother -of -pearl knots. linen (material). mother of pearl. silk. piqué Vest of white striped piqué. With white linen transshipment and mother -of -pearl knots. linen (material). mother of pearl. silk. piqué

Ensemble first quarter 19th century Spanish. Ensemble 174307

Evening dolman ca. 1870 American. Evening dolman 174369

Waistcoat. unknown, author

Dolman 1870-80 American. Dolman 173529

Bed jacket 1878 American. Bed jacket 109017

Bodice. Culture: American or European. Date: ca. 1860. Museum: Metropolitan Museum of Art, New York, USA.

Jacket or habit of black cloth with black silk buttons, part of boys suit, coat suit outerwear boy clothing children's clothing sheep wool wool linen cotton silk mid back, roughed flattened ribbing textile linen Black cloth coat or habit with: round cut away front side panels with seven with black silk covered flat buttons and buttonholes of which two are usable on the chest; standing board; long two-piece sleeves with cuffs with three buttons horizontally; empty pocket flaps on the hips with three knots half underneath; two back panels form diamond; the waist seam runs slightly behind; split and two seamed double flat folds in the lap behind; two buttons on waist seam at pleat insert; back and side panels partly lined with brown linen; sleeve lining of light green silk dress boy child

Cutaway coat ca. 1785 probably British. Cutaway coat 174804

Waistcoat, Medium: silk Technique: chain stitch embroidery on taffeta, Gentleman's waistcoat, slightly cutaway with a straight edge bottom and collarless, in off-white taffeta is embroidered in brown and light gray-green. Tiny detached floral sprigs decorate the body while larger sprays and garland run along the center front. Garland extends to bottom edge, and pocket flaps and space below have leafy sprays., France, late 18th century, costume & accessories, Waistcoat

Dressing jacket 1870s American or European. Dressing jacket 109046

Blouse/shirt; XIX/XXW. (1880-00-00-1930-00-00);

Coat ca. 1750 French. Coat. French. ca. 1750. silk

Smoking jacket 1854-57 American. Smoking jacket 91972

Shirtwaist. Dated: 1935/1942. Dimensions: overall: 38.7 x 30.7 cm (15 1/4 x 12 1/16 in.). Medium: watercolor, gouache, and pen and ink on paperboard. Museum: National Gallery of Art, Washington DC. Author: Julie C. Brush.

Dress ca. 1885 American. Dress 159196

Frock Coat, anonymous, c. 1784 - c. 1789 Dark green sheet coat, embroidered in silver wire with composite flower, leaf and ventricle orcherts, with silver thread buttons Netherlands cloth. silk. linen (material). silver thread embroidering Amsterdam Dark green sheet coat, embroidered in silver wire with composite flower, leaf and ventricle orcherts, with silver thread buttons Netherlands cloth. silk. linen (material). silver thread embroidering Amsterdam

Dressing jacket. Culture: American. Date: ca. 1895.The design of this dressing jacket has incorporated the slashing found in men's Renaissance doublets in the yoke bands. During the 1890s, historical influences were quite common and so it is appropriate that this jacket is an expression of that once fashionable garment. The decorative pattern made by these deliberate cuts is a handsome addition to this functional piece of morning wear. Museum: Metropolitan Museum of Art, New York, USA.

CARECO. Printed cotton canvas. 1795-1805. Galliera, fashion museum of the city of Paris. 101510-22 Costume, 18th 18th 18th 18th 18th 18th century

Highly closed sleeves with two low pockets with valve and 11 dust buttons, fine red-green striped satin; Sleeves and part of the back of green silk, linen and cotton lining. Highly closed sleeves with two low pockets with valve and 11 dust buttons, fine red-green striped satin; Sleeves and part of the back of green silk, linen and cotton lining. The lining is labeled by Avril Hart (V & A) as "Fustian" and is half linen, half cotton.

Waistcoat 1760s Chinese, for the Western market. Waistcoat 637658

Ensemble. Culture: French. Date: 1804-14. Museum: Metropolitan Museum of Art, New York, USA.

Mantle 1840-70 Hungarian The Hungarian szür is derived from mantles over 2500 years old, and continued to be worn into the early 20th century. The garment was worn by shepherds mostly, providing protection from the harsh elements. Their thick wool felt was protective against cold and wet, and the long collars were adorned with roundels at the lower corners that could be connected to form a hood. Generally knee to mid-calf length, they were heavily adorned with embroidery and appliqués specific to their locality. The szür was usually worn draped over the shoulders, with the sleeves hanging loose. It was a much-coveted object, and so costly that many men resorted to thievery to afford one. The motifs of this szür were inspired by ancient Islamic motifs. The intricacy and density of the embroidery is stunning and virtuosic.This object was collected by Stewart Culin (1858-1929) during a collection expedition in 1922. Culin was the Brooklyn Museum's first Curator of Ethnology, serving from

Jacket for Baby van Sits with a red stock, along the sleeves, neck and along one front paired with red linen, anonymous Baby jacket with long sleeves of sits with a red stock, along the sleeves, neck and along one front paired with red linen; lining of white linen. cotton (textile). linen (material). chintz chintz Baby jacket with long sleeves of sits with a red stock, along the sleeves, neck and along one front paired with red linen; lining of white linen. cotton (textile). linen (material). chintz chintz

Vest. Silk Beijing. 1790-1795. Galliera, fashion museum of the city of Paris. 76117-14 Man's vest, clothing, male mode, clothing, 18th 18th 18th 18th 18th 18th 18th century, Habit

Vest with scarf collar and pockets of cream satin, with stripes, edges, studs and wavy edge with dots and flowers in cream and mechanically embroidered multi -colored bouquets; Four green transparent knots in copper -colored base, anonymous, c. 1835 - c. 1845 Men's or boys' vest of 18th century silk, cream with flowers. Vest with short, sliced front buildings. Low neck with narrow shawl collar. Four buttons of green glass stones contained in copper. Two high -placed straight insert bags. Satinet back in twill binding. Lining of 18th century linen. Netherlands silk. linen (material). metal. glass. satin embroidering Men's or boys' vest of 18th century silk, cream with flowers. Vest with short, sliced front buildings. Low neck with narrow shawl collar. Four buttons of green glass stones contained in copper. Two high -placed straight insert bags. Satinet back in twill binding. Lining of 18th century linen. Netherlands silk. linen (material). metal. glass. satin embroidering

Vest. Large of towers, silk, cream, embroidery in the past, rod point, point at the launched, point of knot, polychrome silk son. 1780-1790. Galliera, fashion museum of the city of Paris. 76117-11 Embroidery, men's vest, clothing, male mode, embroidery fabric, clothing, 18th 18th 18th 18th 18th 18th 18th century, Habit

Man's Vest. England, circa 1845. Costumes; principal attire (upper body). Silk cut and voided velvet on plain-weave foundation with supplementary weft-float patterning

Waistcoat Made 1775-1800 France. Linen, twill weave; embroidered with linen floss in satin and stem stitches; French knots; buttons covered with six-star lace fillings finished at edges with arrangement of overlapping stitches resembling continuous tailor's tacks; lined with linen, plain weave .

Corset -

Half-length white baby coat made of rib cotton, piqué, flat round collar with ruffles of white mull, cloak jacket baby clothing children's clothing clothing cotton, textile hand sewn mid-length white baby coat made of rib cotton piqué trimmed with ruffles of white mull Round neck with flat round collar trimmed with ruffle Closure mid front completely open. Edges trimmed with ruffle continuously along skirt seam. Long sleeves on the head slightly wrinkled and pouting. Cloak with side seams. Back piece under the collar. In the waist back double rise with strap. Wide hem on the sleeves Bow tie in side seam and above sleeve hem dress baby child

Gown of greenish yellow cloth, with linen lining, pajama skirt coat jacket dress suit outerwear men's clothing wool linen metal shoulder w 35,0 sleeve, lg 105,0 bottom w 65,0 textile hand sewn Skirt of greenish yellow cloth with brown linen lining. Reinforced collar. Button fastening in the middle of which the four top buttons are functional. The buttons are covered with the same material as the jacket. Also closure with hook and eye. Closing two pockets on cut-off fronts with buttons dressing man Rotterdam

Pelerine ca. 1830 probably Swiss Swiss embroidery has long been recognized as representing the pinnacle of refinement. The charming and original motifs depicting three-dimensional oak leaves, acorns and fanciful creatures worked in French knots are beautifully executed. Originally worked on a fine mull, the motifs were remounted on batiste in the mid-20th century for preservation purposes.. Pelerine 158349

Waistcoat, Medium: silk Technique: embroidery using satin, stem and knot stitches in 14 colors on silk 7&1 satin foundation, Gentleman's waistcoat with embroidered design of grape harvesting and wine casks., France, 1780-90, costume & accessories, Waistcoat

Evening vest. Culture: American. Date: 1830-35.Waistcoats and vests of the 18th and 19th centuries served as a layer protection and ornamentation during a period in fashion when the coat was intended to be left open in the front. The color was often chosen to complement the suit and covered in imaginative embroideries, heavily woven patterns or shiny satins made to draw the eye. The style of the neck, the length and the hem treatment fluctuated as the tastes changed from over-sized coats of the early 18th century to narrow tightly fitted coats of the late 18th century and onward. Museum: Metropolitan Museum of Art, New York, USA.

Dress early 19th century American. Dress 103682

Robe, 56 x 68 in. (142.24 x 172.72 cm), Cotton, India

Dress ca. 1858 probably American. Dress 90857

Waistcoat, Medium: silk, buckram Technique: embroidered in satin, running and knot stitches, with couched crimped thread on a satin foundation. The garment is lined with silk moiré and the skirt in interlined with buckram (sized heavy linen plain weave), Gentleman's full-skirted waistcoat of blue satin with monochrome embroidery of floral forms worked heavily along the front and lower edges and pocket area. White silk moire lining in skirt., England or France, 1730-50, costume & accessories, Waistcoat

Nightgown 1880s American. Nightgown. American. 1880s. cotton

Waistcoat 1750-70 probably British Waistcoats and vests of the 18th and 19th centuries served as a layer protection and ornamentation during a period in fashion when the coat was intended to be left open in the front. The color was often chosen to complement the suit and covered in imaginative embroideries, heavily woven patterns or shiny satins made to draw the eye. The style of the neck, the length and the hem treatment fluctuated as the tastes changed from over-sized coats of the early 18th century to narrow tightly fitted coats of the late 18th century and onward.This shimmering waistcoat would have been magnificent in its original condition and likely have been reserved for the most formal occasions, possibly a court appearance or an official high ceremony. In addition, it would originally have been a very expensive purchase since it is woven entirely out of metallic threads, which were inherently more difficult to manipulate and costly. The elegant beauty of the finished garment

Bodice ca. 1855 American. Bodice 173577

Blouse 1815 Hungarian. Blouse 127285

Cutaway coat. Culture: French. Date: 1780-90.The narrow silhouette of the late 18th century is portrayed brilliantly in this court coat. Although this would have been worn with a coordinating breeches and a waistcoat originally, the extant coat alone shows the importance attached to complex and visually intriguing surface decoration provided by embroidery, appliqué and unique textiles. Museum: Metropolitan Museum of Art, New York, USA.

Man's Vest. France, circa 1785, altered circa 1795. Costumes; principal attire (upper body). Silk satin with silk embroidery and silk grosgrain ribbon

Loose sleeve of children's swamp of matticlassed white satin. Loose sleeve of children's swamp of matticlassed white satin. Sportswear ().

Fencing Doublet. Culture: Western European. Date: ca. 1580.This doublet is a rare example of sixteenth-century male clothing, very little of which has survived. The cut of the doublet, particularly the protruding "peascod" waist, is typical of fashionable costume of the 1570s and 1580s. The delicate silk embroidery and the use of gold and silver metallic yarns are additional indicators of its high quality. The padded ribs on the chest, back, and sleeves suggest that the doublet was also intended as a protective garment. It was probably made for wear during fencing practice, which was at the time an essential part of every gentleman's education. Museum: Metropolitan Museum of Art, New York, USA.

Waistcoat 1780-85 French. Waistcoat 91895

Suit ca. 1780 Italian. Suit 98380

Dress shirt early 1900s American. Dress shirt. American. early 1900s. linen, silk

Vest 1780-90 French Waistcoats of the 18th and 19th centuries served as a layer protection and ornamentation during a period in fashion when the coat was intended to be left open in the front. The color was often chosen to complement the suit and covered in imaginative embroideries, heavily woven patterns or shiny satins made to draw the eye. The style of the neck, the length and the hem treatment fluctuated as the tastes changed from over-sized coats of the early 18th century to narrow tightly fitted coats of the late 18th century and onward.This is a charming example of 18th-century embroidery with animated insects and Asian-inspired fruit branches. The butterflies climbing the branches at the front hem and the grasshoppers sitting atop flower stems are particularly engaging.. Vest. French. 1780-90. silk

Dress 1887-89 American The bustle was at its greatest extension by 1885. It was almost perpendicular to the back and heavily upholstered. The 1880s versions were as padded and heavily embellished as a drawing-room hassock of the period. It was a popular conceit that the cantilevers of these bustles could support an entire tea service. To sustain the greater weight of the 1880s gowns, light and flexible infrastructures were created with flexible materials-wire, cane, whalebone-held together by canvas tapes or inserted into quilted channels.. Dress 83084

Blue silk jacket. A dressing gown of light blue silk (taft) lined with identical blue silk but with a slightly coarser structure; used collar; The sleeves at the cuffs narrowed (turned or wrinkled); Seam in the middle in the lining.

Man's vest. Silk and threaded gold lampas, Bicolor Silk Damascus back, red silk taffeta lining, silk and flip -flined button buttons, wire buttonholes. 1740-1750. Galliera, fashion museum of the city of Paris. 101032-20 Costumes, 18th 18th 18th 18th 18th 18th century

Boy vest with front closure with 12 knots of purple ribbed changean side and metal wire, two fake bags and pointed collar of brown linen and green silk with gold thread, anonymous, 1790 - 1800 A sea green silk boy vest (carmagnole) with gold galon. England (possibly) silk. linen (material). A sea green silk boy vest (carmagnole) with gold galon. England (possibly) silk. linen (material).

Cape in Canezou type unknown

Dress, early 20th century, 46 1/4 x 54 15/16 in. (117.48 x 139.54 cm), Cotton, metallic threads, metal, coins, sequins, beads, shells; needlework, Yemen, 20th century

Dolman ca. 1880 Compagnie Lyonnaise French. Dolman 173326

Waistcoat Made 1750-1800 France. Silk, warp-faced plain weave; embroidered with silk floss in satin, long and short, outline, and straight stitches; satin stitch over stiff paper circles; slanting satin stitch border; block shading; lined with cotton, plain weave .

Man's coat, Medium: silk Technique: floats of continuous supplementary weft, floats of a supplementary warp, and embroidery (using silk, satin, stem, and knot stitches), Ribbed silk in narrow perpendicular stripe of green and brown. Elaborately embroidered in multi-colored silk; floral design with small areas of applied silk, also embroidered. Style slightly cutaway. Standing collar, embroidered. Eight large embroidered buttons., France, 1770-1800, costume & accessories, Man's coat

Girl's Dress

Whale body. Lampas, silk, flashes of whales. 1750-1800. Galliera, fashion museum of the city of Paris. 60568-6 Whale body, Decor Fleur, Fanon, Woman, Lampas, Female Mode, Silk

Bodice 1840s American. Bodice 109496

Bodice. Culture: probably British. Date: 1804-14. Museum: Metropolitan Museum of Art, New York, USA.

Pawn jacket from black sheet with silver embroidery and buttons with a crowned W. Pawn coat from very fine black sheet, part of official suit. From the front to 50 cm heightly cut off buildings. Standing plate with silver embroidery. Nine buttonholes and nine silver colored buttons with crowned w embossed. Long sleeves with cuff from silver borsure. Back fitted, from behind next to a triangular investment two sham pockets with a valve over three buttons. Straight split, rounded buildings with a deep fold in which a clogged knot and wide opening (for saber).

Shirt 19th century Danish. Shirt. Danish. 19th century. linen

Kaftan ca. 7th-9th century A.D. Alanic The original linen coat (caftan), preserved in part from the neck to the bottom of the hem, is made of finely woven linen. A decorative strip of large-patterned silk is sewn along the exterior and interior edges of the caftan. A minute fragment of fur preserved as the caftan's interior attests to its fur lining. The woven patterns on the silk borders of the caftan include motifs such as the rosettes and stylized animal patterns enclosed within beaded roundels, which were widespread in Iranian and Central Asian textiles of the sixth to ninth century. The colors used in the textile include a now-faded dark blue, yellow, red, and white on a dark brown ground. The decorated silk fabrics are a compound twill weave (samite in modern classification) and the body of the garment is plain-weave linen. Two slits running up the back of the caftan make it particularly suitable as a riding costume.. Kaftan. Alanic. ca. 7th-9th century A.D.. Silk, linen, fur. Ca

Jacket, green with white striped, thin, flexible fabric, with loose sleeves and buttons, anonymous, c. 1740 - c. 1760 fragment Jacket, green with white striped, made of thin, flexible fabric. With the jacket a loose sleeve, some fragments of textile and 9 loose knots are stored. wool Spitsbergen. Svalbard. Zeeuwsche Uytkyck

Wedding kimono, 1920 - 1940 Said bridal kimono (uchikake) with accompanying lower kimono (Nagajuban). Japan silk painting Said bridal kimono (uchikake) with accompanying lower kimono (Nagajuban). Japan silk painting

Corset third quarter 18th century American. Corset 90458

Ensemble ca. 1730 probably French In the eighteenth century men's formal and court attire expressed, in forms only slightly less constrained than the womenswear of the period, a lavishness that was notable for the elegance of its finish and the finesse of its application of artisanal techniques. The elite of Western Europe and the Americas emulated styles originating in France since the time of Louis XIV. This coat, with its flaring peplum, or skirt, is a persistent silhouette favored at the end of the Sun King's reign that continued in modified form until the last years of Louis XV. The ensemble's breeches, which have not survived, likely would have matched the coat. The use of red wool broadcloth for such a formal ensemble is unusual but indicates a British provenance. From the mid-eighteenth century, wool became symbolic of British civility and freedom and was adopted as a fashionable fabric by such notable Anglophiles as Voltaire.. Ensemble. probably French. ca. 1730. (a) wool; (b)

Green vest, long model, vest outerwear men's clothing clothing silk satin linen shoulder, waist, bottom, textile Green men's vest long model borderless and sleeveless straight panels two flap pockets on the front The pockets are cut into triangular shapes Button fastening at the center front with thirteen buttons covered with green fabric and buttonholes The background of the front is green with blue on which flowers are woven and embroided Back is made of green fabric man's suit

Vest, Medium: wool, glazed cotton Technique: printed, child's short jacket of red wool, striped in white and printed, over-stripe in small black dots. Roud neck, no sleeve, shaped, scalloped bottom. Trimmed with band of black wool around neck, arm hole and bottom, light brown glazed cotton lining. Machine sewn., ca. 1860, printed, dyed & painted textiles, Vest

Suit ca. 1860 American or European. Suit 105434

Man's Trousers. France, circa 1840. Costumes; principal attire (lower body). Cotton and silk twill

Man's Frock Coat. Europe, circa 1845. Costumes; outerwear. Cotton plain weave with supplementary warp-float patterning

Evening vest 1885-95 American Waistcoats and vests of the 18th and 19th centuries served as a layer protection and ornamentation during a period in fashion when the coat was intended to be left open in the front. The color was often chosen to complement the suit and covered in imaginative embroideries, heavily woven patterns or shiny satins made to draw the eye. The style of the neck, the length and the hem treatment fluctuated as the tastes changed from over-sized coats of the early 18th century to narrow tightly fitted coats of the late 18th century and onward.This vest, paired with a black evening suit, would make a very elegant appearance. The beautiful textile is enhanced by intricate details such as the curve of the pocket which mimics the textile pattern and the embroidery detail.. Evening vest 159522

Child's Waistcoat 19th century. Child's Waistcoat 127021

Vest. White silk flaw, white cotton back, white silk lead lining, embroidery with white silk thread, silver sequins, silver son, 8 buttons covered with white silk, 5 buttonholes, between 1800 and 1815. Galliera, museum of The fashion of the city of Paris. Silver, covered button, buttonie, pass embroidery, five, white cotton, back, lining in front, flaw, wire, silver wire, vest, haute couture, mannequin, masculine, male model, glitter, white silk, clothing

Corset 1830-39 American. Corset. American. 1830-39. Cotton

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